Final Exam Flashcards
The Colloseum
The Colloseum
72-80 CE
Era: Early Roman Empire
- In Rome
- Reclaimed land that Nero had taken for his private use, returned to Roman people
- Hosted events with gladiator combat
- Built using concrete
- Layout was designed to allow people to quickly enter and leave
- Approximately 160 feet high
- Columns use Tuscan order
- used barrel vaults, groin vaults
Column of Trajan
Column of Trajan
c. 110-114 CE
Era: High Roman Empire
- in Rome
- tells the story of the Dacian wars
- located in Forum of Trajan, tallest point in the complex
- 125’ feet tall
- originally had statue of Trajan on top
- Apollodorus of Damascus (main artist)
- Shows Trajan as a war hero
- Frieze wraps around whole column, depicts historic events
- example of low relief
The Pantheon (Rome)
The Pantheon
c. 130 CE
Era: High Roman Empire
- rebuilt under the reign of Emperor Hadrian
- In Rome
- served as temple to all Roman gods
- constructed using concrete, different mixes of concrete used in different parts of the building
- dome becomes progressively thinner towards the top
- diameter, and height are both 142 feet
- Corinthian columns in front
- large hole in ceiling, light moves across the floor as the day progresses
-
Moses Striking Water from the Rock
Moses Striking Water from the Rock
c. 245-256 CE
Era. Late Roman Imperial Art
- tempera on plaster
- In Synagogue at Dura-Europos, Syria
- unusual because synagogues were rare in Roman controlled territory
- part of a group of many mural paintings
- the synagogue was originally a private home
- series shows many biblical scenes, from old and new testament
- 12 streams flowing, 12 people get their equal share
- moses performed 5 water miracles, uknown which miracle this is
- doesn’t depict specifc event, shows that he performed water miracles, doesn’t show a specific one
- artists had no model to go on, used Roman imagery instead
- ark of the covenant shown as Roman temple front
- Moses is dressed like a Roman senator
- Juda’s disciples are shown with hands raisied in prayer
- Moses standing in contrapostal stance, his feet are foreshortened ‘
- shading is used
- natural depiction is not priority, the message is
The Three Men in the Fiery Furnace
The Three Men in the Fiery Furnance
c. 280-290 CE
Era: Early Christian Art
The Three Men in the Fiery Furnace, from the Priscilla Catacomb, Rome, c. 280-290 CE
- Fresco on wet plaster
- Chrstian church was major patron of arts, preserved art exceptionally well
- symbol of hope for life after death
- attempt was made to burn them to death, they lived, were saved by god
- scene was from old testament
- bird is symbol of divine intervention
- palm tree is symbol of eternal life
- story has to be known already to appreciate the piece
- arms are raised (symbol of prayer)
- standing in contrapostal stance
- Christians often employed Pagan painters; religion of artiists is unknown
Christ with Saint Peter and Saint Paul
Christ with St. Peter and St. Paul
c. 359
Era: Early Christian Art
Christ with Saint Peter and Saint Paul, c. 359 (389 in Gombrich is a typo). Marble relife from the sarcophogous of Junius Rassus, crypt of Satin Peter’s, Rome
-one of the first Christian patricians
-high-quality marble, very expensive to produce
-high relief
(possibly buried at Vatican church)
-scenes on coffin:
daniel in the lion’s den
abraham about to sacrifice his son
adam and eve (the need for salvation)
new testament events:
Christ entering Jerusalem on a donkey
decision to crucify Christ
St Peter, St Paul, Christ together (Christ shown as rule of the universe) symbolism: Jesus’ feet are on the veiled head, which symbolizes the sky, the heavens, stocky proportions
whole work shows his christian beliefs, belief in life after death
Basilica of Sant’Apilinare
Basilica of Sant’Apollinare
c. 530
Era: Early Christian Art
Apse of the Basilica of Sant’Apolinare in Classe, Ravenna, Italy, c. 530
- event from Gospels of Matthew and Mark
- Jesus took 3 disciples, w
- event was first manifestation of Christ’s divinity
- symbolizes Jesus’ triumph over death
- Saint Apolinare identified by inscription, shown as witness to Christ
- hand reaches from top, hand of Jesus
- front only perspective called…
- gold disc, halo, sign of sainthood
- shown as bishop, raising hands in prayer
- strict frontal view
- feet at an angle, slightly foreshortened
- overall depiction of human figure is not naturalistic, message is most important
Christ as Ruler of the Universe, the Virgin and Child, and Saints,
Christ as Ruler of the Universe, the Virgin and Child, and Saints
c. 1190 CE
Era: Middle Byzantine Art
Byzantine, mosaic style
large half-depiction of Christ
Mary and Jesus, two archangels protecting them
Thomas Beckett (defended pope against English king)
Christ as Ruler of the Universe (Pantokrator)
Virgin and Child, Apse mosaic in Monreale cathedral, sicily
-modeled after Constantinople temple
employed Byzantine artists to build (Byzantine artists were widely believed to be the best)
Madonna and the Child on a Curved Throne (virgin and child enthroned)
Madonna and Child on a Curved Throne (Virgin and Child Enthroned)
c. 1280 CE
Era: Late Byzantine Art
altar-painting (icon), c. 1280
Madonna shown with loving expression
wooden panel with gold foil
consistent, similar to Egyptian art: always with a specific purpose, very consistent depiction, proportions
Cross-page of the Lindisfame gospels from Norhumbria, England
(Cross) page of the Lindisfarne Gospels, from Norhumbria, England
c. 698 CE
Era: Art of the Migration Period
(cross) page to saint Matthew’s Gospel (folio 26b) The lindisfame Gospels, c. 698
early example of Christian art??? early example of hiberno-saxon art
before gospel of matthew, purely ornamental
deeply intertwined ferns
religous books were revered, treated as sacred objects
first page with text - very ornately embelished
books in this style were often bound with precious medals
Saint Luke, from an Irish Gospel Manuscript
Saint Luke, from an Irish Gospel manuscript
c. 750
Era: Art of the Migration Period
-Tempera on parchment
Saint Luke, from an Irish Gospel manuscript, c. 750
-shown with winged bull (symbol of Luke)
-points to text, symbol of authentication
highly-stylized
Saint Matthew (German)
Saint Matthew, from a gospel manuscript, probably painted at Aachen, Germany
c.800
Era: Carolingian Art
- part of Gospel Book of Charlemagne/Coronation Gospels
- shown in Roman attire
- acanthus leaves in background, like thosefound in capitals and friezes in Roman art
–classical painting in Aachen was part of Charlemagnes mission to establish Aachen as important center for Roman christianity
-lectern is in Roman style
cross-legged chair is Roman
Saint Matthew (French)
Saint Matthew, from a gospel manuscript, probably painted at Reims, France
c. 830
Era: Carlolingian Art
- made for Archbishop Ebbo
- ink and tempera on vellum
- winged man in top-right corner is symbol of Matthew
- generally relatively abstract, not realistic
- foreshortening in the feet
- matthew is shown as working very intensely, the entire piece conveys movement and energy
- eyes are open wide with focus for his task
- spiral leaf border has slight appearance of being in motion
Adam and Eve After the Fall
Adam and Eve after the Fall
c. 1015
Era: Ottonian Art
- part of St. Michael’s church
- Hildesheim, Germany
- God is shown as a man, pointing with blame at Adam and Eve
- Adam and Eve both try to pass off responsibility (Adam to Eve, Eve to Serprent)
- door features scenes from old and new testaments
- comission by Bishop Bernward
Harold, Earl of Essex, Swears an Oath to Duke William of Normandy, and Harold Returns to England
Harold, Earl of Essex, Swears an Oath to Duke William of Normandy, and Harold Returns to England, details of the Bayeux Taptestry, from Bayeux Cathedral, Bayeux (Normandy), France
c. 1080 CE
Era: Romanesque Art
- example of embroidery
- used eight colors of wool
- used stem stitching
- Bayeux tapestry is misnomer, because it’s embroidery, not a tapestry
- 20 inches high, about 230 feet long
- details events surrounding Norman attack against Anglo-Saxons
- unusual among Romanesque art, because it depicts a historical event shortly after it happened
